Though news stories have been swirling over the past week with the Los Angeles Museum of Contemporary Art’s latest plans to survive — a possible dalliance with the National Gallery of Art here, a tryst with the Los Angeles County Museum of Art there — all the rumors have come to naught. Members of MOCA’s board of trustees have committed funding to the museum that will raise its endowment to over $60 million.
The Los Angeles Museum of Contemporary Art is losing even more staff, though rather than firing legendary curator Paul Schimmel, this time, associate curator Rebecca Morse is leaving the institution of her own free will. We don’t blame her.
After a shaky few months in which the gallerist-turned-museum director has faced mounting criticism and opposition for his questionable tactics running the Los Angeles Museum of Contemporary Art, Jeffrey Deitch may be on his way out.
The insular art world likes its public follies almost as much as Hollywood. We’re constantly looking for the latest slip-up, the misspoken press statement or flubbed exhibition. That’s why the trials and travails of Jeffrey Deitch as the director of the Los Angeles Museum of Contemporary Art have been so magnetic — it’s an ongoing soap opera, replete with plot twists. But is it time now for rebalance the books of Deitch’s tenure?
In a fairly abrupt turnaround, the Los Angeles Museum of Contemporary Art announced yesterday that it will hire a new chief curator, after the controversial resignation at the end of June of Paul Schimmel, who held the chief curator position for 22 years. Originally, MOCA had announced that it would not replace Schimmel, instead going full Deitch, i.e. allowing director Jeffrey Deitch to lead the museum’s curatorial program.
A lot has happened in the week and half since we last gave you an update on the situation at Los Angeles’s Museum of Contemporary Art. Oh wait, except … nothing’s actually happened.
Artist Ed Ruscha has left the board of LA’s Museum of Contemporary Art (MOCA), following the departures last week of John Baldessari, Barbara Kruger and Catherine Opie. The last artist on the board has left the building.
LOS ANGELES — We were all gathered outside the Museum of Contemporary Art’s Geffen Contemporary space near the Arts District, waiting patiently for the show to start. We’d lined up around the block, and I quietly wondered when things would get going and suddenly it seemed like a giant fireball was hurtling toward us. The whole crowd panicked, then screamed, then hooted, then cheered. Another fireball burst, and then it finished almost as quickly as it had started.
We now know the identity of the artist who initially wrote Yvonne Rainer to complain of the conditions of the Marina Abramović performance during the LA MOCA gala. In a letter titled “Open Letter to Artists” published by the Performance Club, performer Sara Wookey explains her motivate for initially auditioning for the work …
The final text and signatories of Yvonne Rainer’s letter to Jeffrey Deitch/MOCA protesting Marina Abramović’s performance for the MOCA gala is on the Artforum website. There are 50 signatures on the letter.
Since Marina Abramović was picked to provide the entertainment for LA MOCA’s upcoming gala we’ve all been wondering what the performance art queen would conjure up to do her bidding. Now, we kind of know and it raises some serious questions, namely, is performance art ever an excuse for labor abuse?
According to the art world’s favorite vlogger, James Kalm, Art in the Streets essayist Carlo McCormick spoke on June 19 at MOCA and Jeffrey Deitch was in the crowd.